Behind Hyundai’s Cannes-Winning Thriller Using Only Car Cameras
A short branded film that people paid to watch… in cinema. Hyundai Motor Company’s ‘Night Fishing’, created in collaboration with INNOCEAN, is a thriller shot entirely on the IONIQ 5’s car-mounted cameras.
Starring and produced by South Korean actor Son Suk-Ku and directed by Moon Byoung-Gon, the 13-minute film involves a mysterious incident at an electric vehicle charging station. Priced at $1 per ticket, the unique concept became the first branded content film to receive official theatrical release following review by the Korea Media Rating Board.
The project has also done well on the awards circuit, receiving several recognitions, the most recent being a Grand Prix in Entertainment and Silver in Film at Cannes Lions 2025.
And it all began from a simple question, according to Hyundai senior manager, Seokhyun Alex Oh: “How can a brand meaningfully engage with audiences who actively avoid traditional advertising?” This led to the idea to feature IONIQ as a key element – “not just as product placement, but as part of a truly cinematic experience.”
Shooting a film full of action and tension using static cameras from a car came with plenty of challenges. To find out more, LBB’s Sunna Coleman joins Seokhyun as well as INNOCEAN’s campaign planner and account executive, Sejin Kim, and creative, Doyu Yang, to chat about leaning into limitations, taking a film-first approach, and why they believe this project had all the elements for multiple awards wins.
LBB> ‘Night Fishing’ is a multi-award winning piece of branded content for Hyundai Motor Company. Firstly, can you tell us about what insight sparked the idea for this campaign and how you landed on the final thriller concept?
Sejin> We didn’t start from a marketing brief. We started by observing the reality around us. Gen z and millennials aren’t just tuning out ads; they’re curating their time and attention with precision. What if we simply made something they'd voluntarily choose to watch? A short film and thriller genre felt like the perfect vessel. It allowed us to explore themes like isolation, surveillance, and shifting perspectives – ideas that reflect how people interact with technology today.
The story wasn’t just narrative – it was a metaphor. A way to explore how presence is perceived, and how embedded technology, like the cameras onboard IONIQ, can both observe and reveal.
LBB> The campaign stars South Korean actor Son Suk-ku. What made him a great fit for this piece of content and what was collaboration with him like?
Seokhyun> Son Suk-ku is, of course, an outstanding actor – but what made the biggest impact on this project was his creative involvement. He wasn’t just a performer; he was deeply engaged in the ideation and production process as a creator. Like us, he was eager for a new kind of challenge, and he brought intense passion and commitment to every stage of the project – from early planning through to the campaign launch. His collaborative spirit was a key driver of the film’s success.
Sejin> His instinct for both stillness and tension, especially in a film that lacks flashy camera work or dialogue-heavy exposition, elevated the narrative. He also understood the stakes of the experiment – this wasn’t about promoting a product, but about building trust through authenticity. That alignment made the collaboration smooth, even though the whole journey was full of unpredictables.
LBB> Filming using just car cameras must have presented some technical and creative challenges. Can you tell us about these and how you overcame them?
Seokhyun> The limitation in camera angles is undoubtedly a significant constraint when creating any kind of visual content, whether it’s advertising or film. But rather than trying to overcome these limitations, we chose to lean into them. In fact, the aesthetic of the film is rooted in embracing those constraints. Whether it was the resolution or the fixed angles, we pushed to amplify the beauty and tension that arise from working within strict boundaries. That deliberate choice helped define the film’s unique visual identity.
Doyu> Unlike traditional cameras, we couldn’t pan, tilt or zoom, which really tied our hands creatively. And since the cameras weren’t tracking the actors, the actors actually had to perform with the fixed positions in mind. That’s a huge challenge. So we did a bunch of camera tests to figure out what worked. And since we couldn’t rely on camera movement to build tension, we leaned on lighting and sound to bring the drama. That’s why even though the shots were mostly static, the action scenes toward the end still feel super intense.
LBB> What was your reaction to the final film? What surprised you most about the end result?
Seokhyun> What truly stood out was the moment I saw it on the big screen for the first time during the final tech rehearsal. The intensity of that experience was overwhelming – it instantly felt like it belonged in a cinema. That was when I felt we had created something beyond just a branded short film.
Sejin> Before the screening, I wasn’t sure – did we love it because it was good, or because we were too attached? Because it was such a new kind of attempt for all of us, I was more nervous than excited. I hoped our intentions would come through clearly, but part of me was afraid they wouldn’t. We had poured so much love and care into the project that I wasn’t sure if I was seeing it objectively anymore. Thankfully, the audience gave us the answer.
LBB> The work was the first of its kind to be screened in Korean cinemas, and at just $1 a ticket, drove a lot of interest. What were the strategic decisions behind the pricing and choice to play the film in cinemas?
Seokhyun> Our goal wasn’t to make an ad that looked like a film, but rather to produce a high-quality, experimental short film that could stand on its own as a piece of cinema. That’s why we adopted a theatrical release strategy – following the same storytelling and distribution rules as real films, not ads.
As for the 1,000 KRW (about $1) ticket pricing – it wasn’t so much a strategic move as it was a creative statement. We wanted to send a message: like dollar stores democratise access to products, why shouldn’t short films be just as accessible? The pricing symbolised our intent to create meaningful, affordable cinema – just $1 for a theatre experience.
Sejin> In a world overflowing with content, people are under pressure to make the best use of their time and energy. One bad choice means missing out on countless others. Most movies are long and expensive – if they’re disappointing, the letdown is huge. Ads, meanwhile, are seen as intrusions.
We wanted to break that pattern: a film that didn’t waste time or money, yet still worked as branded content. Something short, affordable, and good enough that people would choose to watch it – not because it was pushed, but because it felt worth it.
LBB> Among many awards, the work received a Grand Prix at Cannes Lions, Clio Awards and Spikes Asia. What do you think has been the key driver in this campaign’s success? What elements do you believe lead to a winning piece of creative work?
Seokhyun> I believe the success comes down to two key factors. First, the distinctiveness of the content – we broke out of the typical advertising mold and entered the entertainment space with sincere and experimental branded content.
Second, we treated the entire campaign from the perspective of cinema, not advertising. Everything – from planning to launch – was driven by a film-first mindset. That approach encouraged voluntary audience engagement and created a deeper emotional connection with viewers.
Sejin> Mutual respect for each other’s expertise, the courage to let go for a greater goal – and above all, the incredible people who made it all possible.
Doyu> We didn’t kick off this project thinking about winning awards… but hey, turns out we did! Back-to-back wins at major international ad festivals? That’s huge. For me as a creator, it’s a massive motivation boost to keep pushing for bold, fearless ideas. I think what really resonated with the juries was this key concept: it’s a branded film shot entirely on car cameras, but not once does it actually show the brand. That’s what made it stand out.
LBB> What does winning these awards mean to you both professionally and personally?
Seokhyun> For Hyundai, this project represents our most successful performance at global advertising festivals to date – especially with our first-ever Grand Prix at Cannes Lions. On a personal level, it's incredibly rewarding to know that, even three years after the project began, people are still talking about it. That’s when you realise: we didn’t just make a campaign – we created something truly influential.
Sejin> Professionally, it was proof that with a strong idea and the right partners, almost anything is possible – even making a film with car cameras. And maybe more importantly, it reminded me that even if no one else sees the value at first, if you believe in your perspective, sometimes you just have to keep going. Personally, it left the team with a strange mix of excitement and anxiety. Makes us wonder, “So… what now?” In a good way.
Doyu> Our team ‘Creative α’ has been doing things differently since 2016. Instead of going the traditional ATL/BTL route, we’ve been exploring how tech can create new brand experiences. So winning the Grand Prix at Cannes this year? That hit different. It’s been nine years in the making, and it felt like real proof that our direction wasn’t just a gamble – it was the right call.
LBB> At Cannes Lions this year, the team took part in an exclusive seminar discussing innovative marketing methods, as well as a stage session to share marketing insights that embrace diversity in the age of AI. What were some of the most important points discussed that advertisers should be aware of for the coming year?
Seokhyun> I don’t think it is easy to define broad marketing trends, but one thing seems clear: as technology continues to advance, there will be a growing appreciation for true craftsmanship. In an age overflowing with content, marketers must focus on creating work that earns the audience’s attention and choice – work that stands out not just through scale, but through substance and quality.
Sejin> We live in a time where innovation has become routine. No matter how new or impressive something seems at first, if it doesn’t create real change in people’s lives, it’ll be forgotten – quickly replaced by the next shiny thing. That’s why, in an era overflowing with innovation, the real question isn’t what’s the newest technology, but who are we creating for? What context do they live in? What do they genuinely need? Only with a clear understanding of that can we offer the right solutions and the right content. Our job isn’t to purposelessly chase what's new – it’s to deliver what’s most relevant. That’s where real impact begins.
LBB> Finally, what are some of the creative lessons you learned during the making of this work that you will carry forward with you?
Sejin> First: commit fully to the medium. If you say it’s a film, then treat it like one – from development to distribution. Second: don’t wait for permission to make something bold – create the conditions for it. This campaign showed me that when trust replaces control, great things happen. And finally: don’t brief creativity – build with it. Have fun with amazing partners.
Doyu> If you want to connect with millennials, gen z, or even gen alpha – the most ad-skeptical generations ever – you have to think like them. That means creating from the audience’s POV. People are literally paying extra just to avoid ads, so why would they engage with anything that screams commercial? We realised we had to make content that they genuinely want to watch. That’s why we released ‘Night Fishing’ in theaters as a paid experience, not just a YouTube video.
